























COPYRIGHT DEPOSIT 





Problems in Furniture Making 

BY FRED D. CRAWSHAW, B.S., M. E. 

n 

Professor of Manual Arts, The University of Wisconsin. 

Author of "Problems in Wood-Turning,” "Metal Spinning,” 

“Manual Arts for Vocational Ends,” Etc. 


Fourth and Revised Edition 


> i » 

THE MANUAL ARTS PRESS 

PEORIA, ILLINOIS 




COPYRIGHT 

The Manual Arts Press 

1912 


• • 
* • « 



£CtA337896 




FOREWORD 


V 


T HIS book is presented to the public to assist those who are interested in the design and 
construction of simple furniture. It is planned, also, to be of assistance to instructors 
and students as a partial text, but more particularly as a class reference book. 

Many of the problems have been worked by eighth grade pupils. It is believed that all are 
capable of solution by the average high school pupil after he has had one year’s experience in 
bench woodwork. 

The particular value of the revised over former editions of “Problems in Furniture Making” 
is in the rewritten and enlarged printed portion of the book together with what is believed to 

be a better selection of problems, both new and old. 

While many of these problems are new, some are familiar because of their long use as 
school projects. These are included, with modifications, as it is difficult to replace them with 
better ones. 

The author is indebted to his many friends who have offered helpful suggestions in the 
design and selection of problems. Those marked “F. D. C.” are, in many cases, original only 
in the sense that the general proportions and dimensions are of the author’s selection. 

The users of this book will be materially assisted in interpreting the problems .by the 

perspective drawings which were made by Edwin V. Lawrence, Pittsburg, Pa. 

F. D. Craws haw. 



DESIGN 


Since writing the chapter on “Design" for the first 
issue of "Problems in Furniture Making.” the author 
has given considerable additional attention to this 
subject. The chapter on “Form and Proportion” in 
“Problems in Wood-Turning” was the result of sub¬ 
sequent study and experience. While all the principles 
involved therein are not applicable to furniture design, 
it will be of great help if the user of this book will 
familiarize himself with them. At the close of this 
present chapter a chronological summary of steps taken 
in the design of a piece of furniture is given. The 
formal arrangement of these steps is the result, also, 
of the work of recent years. 

In order that intelligent modifications of the com¬ 
pleted designs herein presented may be made, and that 
initiative on the part of the pupil may be secured in 
the making of new' designs, the following suggestions 
on design are given: 

i. General lines and proportions. The general 
character of the lines will be largely • dependent upon 
the lines in the pieces of furniture with which the one 
you are designing is to be associated; there should 
be a general harmony of line, a re-echo of line, in the 
room as well as in the single piece of furniture. The 
general proportions will be determined by the space 


your piece of furniture is to fill and its use. In case 
it has no particular place in the home or there is not 
a decided need for it, a design is not called for. It 
is believed that much of the furniture of either poor 
or mediocre design is the result of a misdirected effort 
due to a misconceived or purely mercenary demand. 

2. Construction. The shape of the piece of furni¬ 
ture will generally determine its construction. One 
will hardly make a mistake in the selection of joints 
to be used, but there are many forms of some of the 
principle joints, such as the tenon-and-mortise joint, 
from which to select. Here, again, one must be 
governed by that fundamental law of design, viz., 
there must be harmony. If the general design is a 
severe one, then the protruding form of joint will be 
appropriate, such as, for example, the open or pinned 
tenon-and-mortise joint instead of the closed one or 
the screwed construction instead of the nailed butt- 
joint, etc. 

Construction is no less an important factor in the 
ultimate beauty of a piece of furniture than is its 
design. The best-designed article may be ruined by 
poor construction. Makeshifts such as glued-on parts 
to represent protruding tenons and pins are deprecated. 
The butt-joint fastened by means of screw's or lag 


4 





bolts may be an appropriate form of construction and 
serve as a means of decoration, but it should not be 
used as a general substitute for the tenon-and-mortise. 
It is a false interpretation of honest construction and 
is one of the many things in manual training which 
helps to swell the number of those who condemn the 
subject for its insufficiency and impractical methods. 

3. Decorative features. Simple carving, uphol¬ 
stering or textile or leather paneling is often the thing 
needed to give a piece completeness in appearance, 
but, ordinarily, good lines, good proportions and good 
finish are quite sufficient to fulfil all esthetic require¬ 
ments. The simple modeling of the top or bottom of 
a post and the introduction of broken or curved lines 
in some of the rails and stiles is sufficient decoration. 

In addition to these three considerations, it is 
desired to call attention to two others dependent upon 
one or all of these three: 

(a) There will constantly arise as one w'orks over 
a design the question of widths and lengths of cer¬ 
tain parts. Some of these will be definite because of 
the use to which the piece of furniture will be put, 
but many will be indefinite. These indefinite dimen¬ 
sions may be determined with some degree of accuracy 
if one will carefully consider the three following law's 
governing arrangement. 

(1) Uniform spacing of similar parts is usually 
unsatisfactory. 

(2) Wide masses and narrow openings should be 


made near the bottom of a piece instead of near the 
top to give the feeling of stability. 

(3) The center of weight in a design should be 
directly below' the center of gravity. 

(b) The satisfactory filling of space areas is often 
difficult. This is largely a problem in decoration, al¬ 
though it may be one in construction when the strength 
of the piece of furniture is an important factor in 
the design. As an aid toward a satisfactory arrange¬ 
ment of parts in a given area the designer should 
become familiar with the term “measure" and the 
principles in design effecting it, viz., rhythm, balance 
and harmony, as set forth in E. A. Batchelder's book, 
“The Principles of Design.” 

The requirements of the individual problem must 
always serve as the basis for conclusions, but the three 
law's governing arrangement given above and the prin¬ 
ciple of re-echo or harmony of line will prove helpful 
guides. 

For a more detailed consideration of the princi¬ 
ples of design in connection with problems in furniture 
construction, reference is here made to an article by the 
author on “Furniture Design” in the April, 1906. number 
of the Manual Training Magazine: also to a series 
of articles by Prof. Chas. R. Richards on, “A College 
Course in Constructive Design,” Manual Training Maga¬ 
zine, Vol. IX, Nos. 2 and 3. Attention is called also 
to the chapter on “Form and Proportion” in “Problems 
in Wood-Turning” by the author. Many of the prin- 





ciples set forth in this chapter, especially those referring 
to mass divisions and combinations are applicable in 
the design of furniture. 

Steps to Take in Designing a Piece of Furniture. 

i In response to a need for a piece of furniture 
consider carefully its detailed use. 

2. Determine the material to be used in construc¬ 
tion. In general, close-grained and fine-textured woods 
are most suitable for furniture which has a limited 
use such as parlor and bedroom pieces. The coarser- 
grained woods have their principle use in living and 
dining room furniture. 

Again the close-grained and hard woods are best 
suited to pieces of furniture having many curved lines 
formed either by modeling or turning. The coarser- 
grained woods should be used principally in furniture 
of severe design. 

3. Determine, if possible, the place the piece of 
furniture will occupy in a room. This will fix some 
of the definite dimensions and will enable one to make 
a wise selection of the kind of lines to be used that 
the piece may be harmoniously associated with its 
companion pieces. 

4. “Block in” the design so as to make the piece 
of furniture harmonize with the general “make up” 
of the room. Secure harmony by having a re-echo of 
line. 


5. Consider now the indefinite or detailed dimen¬ 
sions to make all parts of the piece members of one 
family. This will result in unity. All details such as 
the modeling of top and bottom rails, the use of curves 
in stiles and legs, the modeling of feet and top of legs 
or posts, and the making of metal fittings, etc., will 
affect this element—an all important one—in the design. 

6. Make good construction and proportion serve 
as an important factor in the decoration of the piece. 

7. Before considering the design complete, give 
careful attention to the three fundamental elements 
of design: viz.: rhythm, balance and harmony. If 
the several parts are so arranged and formed that there 
is movement as the eye passes from one part to another 
in the design, then rhythm has been secured. 

If, by having the whole arranged symmetrically 
with respect to an axis or by a judicious arrangement 
of parts, the whole seems to stand or hang truly, there 
is balance. 

If the design as a whole does not "jar” upon one; 
if all parts seem to belong together, then there is har¬ 
mony. The design is a unit. 

Correlation in Design. 

It is believed that no better line of work can be 
introduced in conjunction with woodwork than that 
commonly called “Decorative Metal.” Many woodwork 
constructions are enriched by the addition of some 


6 





escutcheon—a strap, a hinge, a pull or a corner plate. 
The making of these metal fittings may be considered 
a legitimate part of a course of study in woodwork, 
especially one in which emphasis is laid upon the de¬ 
sign and construction of furniture. It is believed there 
is no line of work which offers a greater opportunity 
for the teaching of the principles of design and for 
their application than this. There is, too, not only 
an opportunity but a demand for close and natural 
correlation between furniture making and its associate, 
decorative metalwork. 


The reader who would take advantage of the above 
suggestion to embellish his course in woodwork and to 
avoid the deadening influence of a long continued 
course of study in it (many of them now run from the 
fifth grade through the second or even the fourth year 
of high school) will do well to familiarize himself with 
‘‘Copper Work” by Augustus Rose, and a series of 
articles by Arthur F. Payne on, "Metalwork with Inex¬ 
pensive Equipment for the Grammar and High Schools,” 
Manual Training Magazine, Nos. 4 and 5. Vol. XI, and 
Nos. 1, 2, 3, 4. and 5, Vol. XII, and Nos. 2 and 4, 





CONSTRUCTION 


It is taken for granted that the users of this book j 

have had some instruction in the use of tools. It is 
hoped that classes in manual training will undertake 
to construct but few of the projects herein suggested 
until they have had at least the equivalent of the aver¬ 
age bench woodwork of one school year. It is not 
proposed, therefore, in this chapter, to dictate in detail 
any method of using tools, but to give in the few follow- j 
ing pages some specific suggestions- for the cutting of 
certain joints and the method of working up stock for .J 
certain classes of wmrk, in the hope that they may be 
helpful. 

It is believed that the -working drawings in this 
book show the method of construction, as a rule. It 
is supposed that the best method of construction is 
desired in any piece of furniture and the author has 
given what he believes to be the best appropriate method 
in each individual case. It will be found that the 
butt-joint is used in all pieces wdiere lag screw's, blue¬ 
headed screws or wooden pins are called for. Such 
pieces should be measured and squared for length by 
holding them together by means of a clamp during 
this process. The fact that the butt-joint is herein 
mentioned does not mean that it is recommended. It is 
supposed that in planing stock the workman will estab¬ 


lish a joint edge and face edge from which all squaring 
will be done. 

Assuming that one year of bench woodwork has 
been done by most pupils w f ho will undertake any but the 
simpler problems in this book it is to be supposed that 
woodworking machinery will be used to get out stock. 
Except for enough hand planing to take off machine 
marks, the planer and the circular saw may be used 
to prepare most pieces of a project ready to be put 
together. This refers both to cutting to length, width 
and thickness and to cutting joints. The following 
suggestions are given, therefore, for the order of work 
on machines. 

Steps to be Taken on Machines. 

1. Select boards from the stock pile so that their 
length and width will permit of the greatest economy 
in the cutting of lumber. 

2. With a hand crosscut-saw, cut boards to ap¬ 
proximate lengths. (It is assumed that a bill of stock 
will be made out before this is done.) 

3. On a surface planer, or better on an edger, 
dress one side and one edge of each piece for face 
and joint edge. 


$ 




4. With joint edge against rip-saw guide, saw 
lumber to approximate widths. Of course all boards 
of a certain width will be ripped before the guide is 
reset. 

5. With face side against the bed of a circular 
planer, plane all stock to approximate thickness. All 
lumber of similar thickness will be planed before re¬ 
setting the planer. 

All stock should now be taken to the bench and 
dressed to the finished dimensions with hand planes. 
Ends of boards, except where they will show in the 
finished project, need not be finished by hand. 

The Cabinet-Maker’s Method of Getting Out Stock. 

Where a number of pieces of wood are gotten out 
for one piece of furniture it is wise to be very syste¬ 
matic in the method of laying out and sawing up these 
pieces. The following method is suggested as good: 
From a complete working drawing of the piece of 
furniture to be made, make an itemized list of all pieces 
of wood, putting those together in the list that have 
equal widths and lengths, and making note of different 
thicknesses if there are any. 

The cabinet-maker’s method of working consists 
in doing all similar operations on all pieces while tools 
and machines are set. If this happens to be the cutting 
of tenons or the boring of mortises, be careful to com¬ 
plete this work on all pieces before beginning some 


other operation, just what should be done first and 
what second, and so on, it is difficult to say, but it is 
always safe to complete all ripping and crosscutting 
in getting stock to the roughing dimensions before 
any hand dressing is done. It is likewise well to have 
all pieces dressed and finished to the dimensions given 
on the drawing before any joints are laid out and cut. 

One further point to note in the economy of labor 
is to keep pieces which are to be glued together to 
form doors, sides of cabinets, etc., glued up and clamped 
as the work progresses so that when all tool work is 
done the several parts of the piece of furniture are 
glued up and ready for the final assembling. 

A word about scraping and sandpapering may not 
be out of place here. The best suggestion one can 
give in this connection is to do this part of the work 
thoroughly. Whether each piece should be scraped and 
sandpapered before any gluing is done or not is an 
open question. Much time may often be saved by 
postponing most of this work until the piece of furni¬ 
ture is assembled. 

The Tenon-and-Mortise Joint. 

The “T-and-M” joint, as the tenon-and-mortise 
joint is briefly designated, is the principal one used in 
furniture construction. The one ordinarily used is the 
closed T-and-M joint, or the one in which the tenon 
goes only part way into the mortised piece. Usually 







in furniture the tenon is held in place by glue, and 
if the joint is made well the glue will be sufficient 
to keep the joint tight for many years. It is true that 
in some factory furniture these joints often loosen in 
a short time but it is due to careless workmanship 
rather than to the kind of joint. 

Laying Out the Tenon-and-Mortise Joint. 

For the benefit of those who may not be familiar 
with the process of laying out the tenon-and-mortise 
joint the following method is suggested. After all the 
pieces are planed to the proper width and thickness 
and the face sides and joint edges marked, put together 
in vise, with joint edges up, the tenon pieces that are 
to be cut the same length. From the center of one 
of these pieces (preferably the one nearest the work¬ 
man) measure each way one-half the distance between 
the shoulders of tenons (it is supposed here that a 
tenon is to be cut on each end) and make a point with 
the end of a knife blade. With a try-square or car¬ 
penter’s square and knife, square a line through these 
points across the joint edges. Now take the pieces 
out of the vise and square around each end from the 
line already marked on joint edge, being careful to 
have the beam of the square always on either face 
side or joint edge. To measure thickness of tenon 
lay rule on joint edge of one board and mark points 


with end of knife blade for tenon thickness. Take 
the marking gage and set its stop so that the marker 
touches one of these points when the stop is firmly 
pressed against the face side. Before resetting gage, 
mark all pieces for this width. Now, set marking gage 
for the other point, again having gage stop against 
face side, and proceed as before. If the workman has 
access to a power saw, all the work of cutting the 
tenons may be done on it, but it is believed that quite 
as accurate work may be done with hand saws. Any 
trimming may be done with chisel and plane after 
sawing has been completed. 

The mortise is laid cut and constructed by a similar 
method when the mortise stock is thicker than the 
tenon stock. In laying out mortises for “flush” T-and- 
M joints, gaging the respective sides of the mortise 
should be done simultaneously with the gaging of cor¬ 
responding sides of tenons. 


A Second Method of Laying Out the Tenon-and- 
Mortise Joint. 




The importance of the tenon-and-mortise joint in 
furniture construction is so great that a second standard 
method of laying it out and cutting it is here suggested. 
Proceed as in the first method to the point of measur¬ 
ing from the center of stock each way to tenon shoulder 
points. Instead of taking this step measure each way 






one-half the full length of stock including the length 
of tenons. As in the first method square across all 
pieces while they are fastened together in a vise or 
clamp. 

Each piece may now be placed against a double¬ 
end crosscut saw guide and by sawing to these squared 
lines and in the waste stock all pieces will be sawed 
to the same length. Now by using the single-end cross¬ 
cut guide and the rio-guide together, and by having 
the rip-guide set away from the saw the length of the 
tenon and through the saw table the thickness of the 
tenon shoulder, all tenons may be cut without laying 
out the tenon shoulder lines as in the first method. 
With a good saw and with accurately cut stock this 
method rather than the first one is to be preferred. 

The mortise is laid out and cut as in the first 
method except that in “flush” construction as well as 
in “off-set” construction mortise thicknesses will be 
gaged independent of the tenons. The cabinet-makers’ 
method should be used, however. A “mortise” gage 
may be used, also, thus saving the necessity of resetting 
a regular marking gage to determine the position of the 
second surface of mortises. 


The Panel. 


In most cabinet work, to avoid winding, warping, 
etc,, wide spaces are filled with a frame, the corners 
of which have a T-and-M joint. The center of this 
frame is a single board or a series of boards sepa¬ 
rated one from the other by boards known as “stiles” 
and “rails.” These are usually flush with the frame 
and on their panel edges have “rabbets” or grooves for 
the insertion of the panel edges. Three kinds of panels 
are used: (i) the panel flush with its frame on 
both sides, (2) the panel flush with its frame on 
one side and inset on the other. (3) the panel inset 
in its frame on both sides. The first is used where 
strength alone is desired, the second where strength 
and appearance are both necessary. In this case the 
inset comes on the outside of the piece of furniture. 
The third also is used where appearance, as well as 
strength, is essential. If a power saw is used for cut¬ 
ting this joint, the face sides and joint edges should 
always be placed against the saw guides. The work 
of gaging may be omitted, although, for the beginner 
it is recommended. 




FINISHES 


The aim in finishing wood is two-fold: (:-) To 
preserve the wood: (2) to produce an agreeable sur¬ 
face, color and texture. 

The old method of filling and varnishing a piece 
of furniture is still practical, but since the advent of 
the so-called craft furniture there has been a desire 
to produce an even-toned color, and staining has seemed 
to be the most practical method of doing this. One 
can purchase on the market innumerable prepared 
stains of which there are three general divisions, viz.: 
water, oil and spirit. In general it may be said that 
while a spirit stain penetrates the wood better than 
either of the first two mentioned it is often difficult 
to apply. Oil stains do not offer this objection but 
are sometimes unsatisfactory because they rub off easily. 
They should, therefore, be covered with some preser¬ 
vative which is also a fixative. Usually, the firm manu¬ 
facturing a stain also makes a finishing material to 
apply after the stain is used. If this is not the case, 
a very thin shellac will serve both to preserve the stain 
and to fix it. Water stains should also be covered with 
some gum preparation, but in no case, unless a high 
polish is desired, should this material be thick. It 
should be thin enough to penetrate the wood almost 
immediately after application. 


It is impossible to give a list of all the good stains 
now manufactured. Probably no two people would 
select the same ones for a recommended list. Conse¬ 
quently the names of the firms, familiar to the author, 
manufacturing stains good in quality both as to tone 
of color and durability are given rather than a list of 
stains. In any case, whether one is to use a manu¬ 
factured stain or one made in the school shop, the 
greatest care must be taken to remove all glue, and to 
scrape and sandpaper thoroughly before staining. Also, 
to experiment with the particular stain to be used on 
the exact kind of wood which was put into the project 
to be stained before the final work of staining begins 
is imperative if the best results are to be secured. 

Chicago Wood Finishing Co., Chicago, Ill. 

Chicago Varnish Co., Chicago, Ill. 

The Bridgeport Wood Finishing Co., Bridgeport, 
Conn. 

Blood & Co. St. Paul, Minn. 

The Adams & Elting Co., Chicago, Ill. 

The S. C. Johnson Co., Racine, Wis. 

The Sherwin Williams Co., Cleveland, Ohio. 

It should be said that no pretense is made here to 
list all firms which manufacture stains satisfactory for 
manual training use. 


12 





The great objection to any of these prepared fin¬ 
ishes is their expense. Below are given several meth¬ 
ods of finishing wood which some experimental and 
practical experience has demonstrated to be good. In 
most cases they are comparatively inexpensive. Some 
of these are old but some are probably new. In giving 
them let it be understood that good results will be 
obtained only when the directions are explicitly fol¬ 
lowed ; even then in some cases it may not be possible 
to get results that are uniform. The same stain on 
different pieces of the same variety of wood may give 
slightly different effects. 


Oil Finish. 

Perhaps one of the oldest methods of finishing 
wood and one used today for some work is to fill the 
grain with two or three coats of boiling-hot linseed 
oil, allowing about twenty-four hours to elapse between 
applying the coats. The oil serves as a preservative 
and at the same time, when rubbed often, it will give 
a dull finish. The surface oil evaporates soon, how¬ 
ever, so that one cannot rely upon oil alone to keep a 
polish. This method of finishing wood is especially 
good for porch and yard furniture. Care should be 
taken not to put on enough oil at one time to allow 
a film to form on the surface of the wood when the 
oil dries. 


13 


Wax Finish. 


The old method of finishing furniture by rubbing 
it with beeswax is still followed. During recent years 
it has become very popular. Prepared wax is fairly 
satisfactory but a wax may be made by cutting up 
beeswax and mixing it with about one-third its bulk 
of turpentine and heating the two together to the boiling 
point. This should be done in a double boiler. The 
preparation may be allowed to cool, after which it 
should be rubbed on and then off with considerable 
pressure. A more satisfactory method is to apply the 
wax hot and rub with a soft cloth as it cools. To 
produce a fine lasting polish three or four coats should 
be applied, allowing from one to four weeks between 
applications. A soft cloth should be used in dusting 
a piece of furniture finished by this process. Better 
results may be obtained by allowing each coat of wax 
to harden during several hours before rubbing it. 

Fuming. 

A darkened color may be produced artificially on 
wood by placing it in a tight box and then setting in 
the box an open dish of concentrated ammonia. The 
woods most affected by the ammonia fumes are oak, 
principally quartered oak, and chestnut. The depth of 
color increases with the time of exposure. A prepa¬ 
ration known as “Fumine,” manufactured by Walter 




K. Schmidt & Co., of Grand Rapids, Mich., will deepen 
the color if applied on the wood before it is placed in 
the fuming box. Tannic acid may be used in place of 
Fumine by dissolving the flakes in alcohol and applying 
the liquid with a brush. Fumed work should be finished 
by the wax finish process. The fuming should be done 
after the piece is sandpapered ready for finishing. 

Filling and Varnishing. 

For many years one of the most popular methods 
of finishing furniture was that of filling the grain of 
the wood with some paste, which might be colored to 
suit the taste, and which would harden, and then cover¬ 
ing the entire piece with some fixative preparation such 
as varnish or shellac. There is probably no method of 
finishing furniture today that preserves the wood better 
than this one. After the article to be finished has been 
thoroughly scraped and sandpapered apply some good 
paste filler, thinned to the consistency of thick cream, 
with boiled linseed oil and turpentine. Put it on with 
a brush or piece of cloth and allow it to stand about 
five minutes until it begins to dry. When this drying 
begins, rub the filler off with a piece of burlap or a 
handful of shavings. Rub across the grain. After ten 
or twelve hours apply a coat of hard oil or varnish 
with a soft brush and let this thoroughly harden. The 
time required for hardening depends upon two condi¬ 
tions : the character of the varnish and the temperature 


of the atmosphere. Usually not less than twenty-four 
hours should elapse between applications of the finishing 
material in a room kept free from dust and having a 
temperature of at least 72 0 F. Varnish should be ap¬ 
plied with a high grade soft bristle or camel’s-hair 
brush. The brush should be passed over the surface 
of stock by long uniform strokes and it should be kept 
well filled. When hard, rub the varnish down with 
fine sandpaper to smooth the surface. Repeat the var¬ 
nishing and sandpapering process three or four times 
until a perfect surface is produced; then apply another 
coat of varnish thinned more than the former ones 
and, when hard, rub down with pumice stone and rub¬ 
bing oil. To give life to the finish continue rubbing 
with rotten stone and water, applied with a piece of 
burlap drawn over a piece of sheet cork, or with a 
piece of harness-maker’s felt. A coat of wax put on 
after the rotten stone is used will add to the appearance 
of the finish. 

Staining, Filling and Varnishing. 

The filling and varnishing method of finishing fur¬ 
niture produces a striking grain with open-grained 
woods. If it is desired to fill the grain to produce a 
smooth surface and yet not show a strong grain, the 
wood should be stained before the filler is applied. A 
stain of almost any desired color may be obtained by 
mixing dry colors ground in oil with boiled linseed 




oil to make a paste and then thinning with turpentine. 
Stains made in this way are likely to cloud and obscure 
the grain of the wood. They should be applied in thin 
coats, two or three being used in preference to one 
heavy coat. The colors recommended are: Drop 
Elack, Lamp Black, Burned Umber, Raw Umber, Van¬ 
dyke Brown, Yellow Ochre, Prussian Blue, Paris Green 
and Venetian Red. 

A stained, filled and varnished piece of furniture 
should be prepared as follows: 

Order of procedure : Scrape. Sandpaper. Dust. 
Wet down with water. Let dry. Sandpaper. Dust. 
Stain. Let dry. Wipe with soft cloth. Fill. Let 
dry. Wipe with soft cloth. Varnish as described 
under, ‘'Filling and Varnishing.” 

Analine Dye Stains. 

The analine dyes, dissolved in alcohol, usually make 
satisfactory stains, also. Some of them, however, will 
fade in time. Seal Brown has proven the most satis¬ 
factory in the author’s experience. After the piece of 
furniture has been thoroughly scraped and sandpapered 
is should be covered with water to raise the grain in 
order that the stain will not do this when it is put on. 
After the wood drys rub down with sandpaper and 
apply stain with cloth. When the stain is dry the piece 
may be filled and varnished as described under the head 
of “Filling and Varnishing.” To this may be added 
a coat of wax, or the wax finish may be used alone. 


Log Wood Stain. 


A rich purplish black will be produced on oak or 
chestnut by covering the wood with a solution of log¬ 
wood prepared as follows: Boil logwood gum, as it 
is sold by druggists, in water until a deep black liquid 
is obtained. About four or five pieces of the gum as 
large as a walnut, boiled in a gallon of water, will give 
about the right color. While the mixture is still boiling 
hot add about half a tumbler of washing soda and 
stir until it is dissolved. When the solution is cold 
apply with cloth until desired color is obtained. Finish 
with wax, shellac or varnish. 

Japalac. 

A very desirable black may be obtained on almost 
any wood by thinning Dead Black Japalac with turpen¬ 
tine and applying as a stain, rubbing off rapidly as 
it is applied. This stain does not need to be covered 
with a preservative. Other colors of Japalac may be 
prepared for stains of corresponding color. 

Old Dutch Stain. 

This is not the prepared finish sold under the same 
name but a home-made mixture which gives to oak 
the appearance of great age similar to the old 
pieces of furniture of German make so much admired. 
Mix two parts of drop black to one of lamp black with 






turpentine until a liquid that will just How is obtained. 
Add to this enough burnt umber to kill the “dirty” 
black. A very little of the umber will do this. Apply 
to oak or chestnut after wood has been wet with water 
and rubbed down with sandpaper. Rub the stain in and 
off evenly. When dry, cover with a very thin coat of 
shellac to fix stain, and finish with wax. 

Bichromate of Potash Stain. 

This method of finishing wood is spoken of a num¬ 
ber of times in this book because it has been success¬ 
fully handled by the author and is an easy stain to 
apply. It gives a brick-brown color- and when rubbed 
with an oiled cloth will keep a dull lustre for a long 
time. Make a concentrated solution of powdered bi¬ 
chromate of potash using hot water. Soft water is 
preferred. Prepare wood (oak and chestnut take this 
stain better than most other woods) as before described 
and apply stain with cloth. Let the stained piece 
stand over night. The yellowish-brown crystalline sur¬ 
face which will be found in the morning will turn to 
a brick-brown color when rubbed with linseed oil. No 
finish is necessary over this stain. 

Asphaltum Varnish Stain. 

A rich chocolate brown may be produced on almost 
any open-grained or light-colored wood by thinning 
asphaltum varnish with turpentine and applying with 


a cloth, rubbing rapidly to avoid sticking. If the asphal¬ 
tum varnish is made very thin it may be applied with 
a brush and allowed to harden as any varnish will. 
Unless the varnish is put on rather thick a covering 
coat of shellac or finishing varnish should be added. 

Acetate of Iron Stain. 

A stain that is easily made and applied with very 
good results on butternut and chestnut is one which 
may be made by soaking iron filings in vinegar. The 
filings or chips should be from cast iron. Soak them 
in vinegar, stirring occasionally, for a week. Apply 
in the same manner as other stains. Eutternut stained 
with the acetate of iron and rubbed with an oiled cloth 
will turn very dark—almost black. Chestnut will be 
made a soft yellowish brown. A wax covering will 
give life and durability to this stain. Chestnut, finished 
with this stain and afterward fumed, will turn a deeper 
brown with the characteristic velvet appearance that 
fuming always gives. 

Iron Sulphate Stain. 

To give a grey stain to oak, boil it in a solution 
of iron sulphate made by dissolving one ounce of chemi¬ 
cally pure sulphate of iron crystals for each pound of 
wood in enough water to entirely cover the wood. Sepa¬ 
rate the strips of wood with pieces of glass and weight 
the wood down to insure its being kept under water. 





About one dram of sulphuric acid should be added to 
every gallon of the solution to keep the iron in the 
form of a sulphate. When dry rub thoroughly with 
a dry cloth. 


Silver Nitrate Stain. 

A weak solution of silver nitrate on chestnut which 
is afterwards fumed with ammonia will give a dark 
brown. Wax makes a good finish for this stain. 

Dry Color Stains. 

After experimenting for a number of years with 
wood finishes in manual training woodworking classes, 
the author has come to the conclusion that, aside from 
the few finishes herein described and some of the stains 
to be found on the market, one can get about as satis¬ 
factory results, as in any other way, by mixing the dry 
colors (obtainable at painter’s supply houses) with 
boiled linseed oil and turpentine. A little experimenting 
will determine the colors and the quantity of each, to 
mix together to produce a desired shade. Those which 
will be most used are listed under, “Staining. Filling 
and Varnishing.” After the mixture of dry colors is 
made, add enough boiled linseed oil to make a paste 
and thin this with turpentine. Apply stain with cloth 
and finish with varnish or shellac. Rub the fixative 


preparation down as described under, “Filling and Var¬ 
nishing.” 

Other stains and finishes might be suggested here, 
but it is the purpose of this chapter to make mention of 
those only which are known to be among the best. The 
reader is referred to the following articles and books 
for further material on this subject. In giving this 
direction it may be well to offer the following injunc¬ 
tion : 

To procure the most satisfactory results in the 
staining and finishing of woods, one must become a 
patient experimenter. No stain or finish should be 
used, no matter how highly recommended or with what 
success previously used, until it is tried upon samples 
of the same wood upon which it is proposed to place 
it. These should be selected and prepared for the stain 
with as much care as would be used in the process of 
finishing any piece of furniture. 

References on Wood Finishes. 

Chapter on Finishes in Noyes’ “Handwork in 
Wood.” 

Article by C. S. Van Deusen, Manual Training 
Magazine. No. 2, Vol. VI. 

Handbook published by Berry Bros, the varnish 
makers. 

Handbook published by S. C. Johnson Co., Racine, 

Wis. 







NOTES ON PROBLEMS 


1—Taboret 

A seventh or eighth grade problem. This is a very simple yet attractive 
piece of furniture, and may be made by any boy who has had a little ex¬ 
perience with tools. The design may be varied without injury by widening 
the legs somewhat and using thinner lumber for them. The author believes 
that round-headed blued screws will make it a stronger piece of furniture 
than will wooden pins. In order to guard against splintering where the recesses 
are cut for the legs a hard wood or a close-grained soft wood should be used. 
If made of hard wood, maple will prove to be a good one, although oak may 
be used. If oak is used fume and finish with wax. If butternut is used and 
a dark finish is wanted, use the acetate of iron. 


2—T aboret. 

A seventh or eighth grade problem. This is the simplest form of taboret 
involving the tenon-and-mortise joint. It is appropriate from the standpoint 
of utility, and when well proportioned is good in design. To secure the 
necessary element of strength, the rails should be made but very little, if 
any, less than four inches in width. This piece may be made of almost any 
wood. Carefully selected pine stained brown will make a serviceable and 
beautiful taboret in this design. Chestnut may be used with good results. 
Oak, fumed or stained and fixed with some preservative such as thin shellac 
or underlac and then waxed, will give the best appearance. 


































3—Shoe Polishing Box 

An eighth grade problem preferably, although it may be made well by 
some seventh grade pupils. The rail should be kept as wide as shown in 
the working drawing of this project to secure strength. The construction 
involves the use of the bevel-square and some, although not difficult, angle 
construction, unless the corner boards are fastened together by some joint 
other than the butt as shown. One half of the top should be fastened with 
nails or screws from the top to the rails. The other half should have a 
foot-form modeled from wood, or one which may be secured at a hardware 
store, fastened on the under side. Hard or soft pine finished dark will be an 
appropriate material. A “Dry Color Stain” is recommended. One coat of 
varnish or shellac rubbed down and then waxed will give a suitable finish for 
this utility piece. 


A —Ta bo ret 

An eighth grade or high school problem. This piece will prove attractive 
in a living room or on a porch. It is designed to acquaint the maker with 
the problem of laying out and cutting tenon-and-mortise joints by the cabinet 
maker’s method. If it is undertaken by a high school pupil the joints may 
well be cut on machines. The placing of the rails offers a good problem in 
breaking up an area into well related parts. Some open-grained wood or one 
having distinguishing marks such as cypress will be most in keeping with the 
design. If the piece is to be used on a porch it should receive the oil or 
asphaltum varnish finish. 




19 



























5—Bench Stool 

An eighth grade or high school problem. This project introduces angle 
tenon-and-mortise and angle housing construction. It should be made of some 
wood which will not break or splinter easily. An open-grained soft wood such 
as chestnut will not prove satisfactory. Either poplar, maple or birch, if oak 
is not preferred, will make a strong piece of furniture in this design. Finish 
any one of the.se woods with bichromate of potash and rub down with oil. 
A coat of wax may be added after the oil has evaporated. 


6—Pedestal 

A high school problem. This project is not particularly difficult in con¬ 
struction. The rails may be tenoned or halved into the legs. The joints are 
square cut and may be made without difficulty, therefore, either by hand or 
on machines. This piece will be attractive either in a library or club room, 
and may be used for a large plant, a piece of statuary or as a stand for a 
smoking set. Its companion pieces will call for chestnut, ash or oak in its 
construction. A brown or green stain finish, covered with some preservative 
to give a dead finish, is suggested. 




















7—Plant Stand 

An eighth grade or high school problem. This may be made of pine, 
poplar, or, if open-grained wood is desired, chestnut or oak. The piece is 
suitable for porch or inside of house. The decoration on middle slat is 
suggestive only. Simple veining or relief carving may be used, or the more 
difficult problem of inlaying may be introduced. 


8—Taboret 

A high school problem. This is a difficult piece to construct and should 
be undertaken only by one who is somewhat experienced in woodworking. 
It should be laid out with the greatest care and constructed so that all joints 
will fit very closely. Pine, poplar or gum is recommended. Some light 
stain covered with a dead varnish finish will be attractive. A natural finish 
in oil, wax or some prepared quick-drying varnish will require less effort 
and skill. 




21 
















































9 — T aboret 

An eighth grade problem. Pine with a strong grain, if finished with 
asphaltum varnish thinned with turpentine and rubbed on the w r ood while fresh, 
will make this an attractive and serviceable piece of porch furniture. It is 
also suitable for inside use. A dark green stain on poplar will make of this 
a beautiful library or study jardiniere stand. A dead varnish known as 
“Deadlac” is very appropriate over the dark green color. 

10— Woven Top Stool 

An eighth grade problem. This may be used as a low seat or a foot 
stool. Make stool of some close-grained soft wood or of oak. In the con¬ 
struction, cut the tenon-and-mortise joints before tapering the legs. Wind flat 
pith cane over and around opposite rails. When finishing, stain the entire 
piece with some good prepared stain such as Ad-el-ite, a preparation that 
does not need a covering of varnish. If oak is used a soft greyish-brown 
tone may be obtained by fuming the entire stool. 

11— Woven Top Stool 

An eighth grade problem. Pine or chestnut will be suitable if this project 
is undertaken by grade pupils. Oak may be used by high school pupils or 
those capable of working in hard wood. The problem of framing is a good 
one here and the weaving of the flat pith cane offers a chance to use some 
originality in the pattern design. Care must be taken not to get the material 
used for the weaving too tight at first or the last strands will be very difficult 
to weave through. A long needle made of thin band iron is suitable for the 
weaving. The edges of the frame should be rounded slightly to prevent the 
cane from breaking. 












































12— Leather Top Stool 

An eighth grade problem in ordinary framing and upholstering. For the 
eighth grade pupil chestnut makes a very satisfactory substitute for oak and 
is much more easily worked than oak. A rich dull brown will be obtained 
by finishing with a turpentine preparation of raw umber, first made into a 
thin paste with boiled linseed oil. After this is well rubbed into the wood 
apply a coat of very thin shellac. This need not be rubbed down if it is 
sufficiently thin. Its purpose is to “fix” or “set” the stain. It is not used 
in this case as a finish. Wax should be used for this purpose. 

13— Foot Stool 

An eighth grade problem. This is a simple problem in tenon-and-mortise 
framing. Oak or hard pine is recommended as a good wmod for this project. 
If chestnut is used the front corner posts should not be severely modeled. 
The upholstering may be done with leather or its substitute, pantasote. This 
and other leather substitutes may be obtained in almost any color, particularly 
in the browms and greens. The first cost of these is less than that of leather 
but for quality and durability the latter material is unquestionably the best. 


14—Leather Top Stool 

An eighth grade problem. Model top out of a two-inch pine plank after 
gluing two pieces together edgewise. The amount to be scooped out is given 
in drawdng as one-half an inch ; it may well be a little more than this. The 
legs and rails should be made of some wood that will not easily splinter in 
modeling the sharp corners at the bottom of the legs. Butternut or gum 
of the soft woods will be satisfactory and oak will probably be the most suita¬ 
ble of the hard woods. Turned legs make an attractive piece. 




23 































J 15—Hall Umbrella Rack 

An eighth grade problem. Chestnut has been used with considerable 
satisfaction and success in the construction of this project. As indicated in 
the article by the author in the Manual Training Magazine for April, 1906, 
there is a chance for study in filling in the sides to make a good panel scheme. 
It is believed that the horizontal strips alone may be used with much satis¬ 
faction if those near the bottom are placed farther apart than those near the 
top, and not more than four are used on a side. An ordinary shallow sheet- 
iron pan colored by covering with lard oil and heating repeatedly in the fire 
will make a good bottom. A better pan, and one which will be more appro¬ 
priate in color to harmonize with the brown stains, will be made of copper. 
This is a good piece for fuming. 


! 16—Hat and Umbrella Rack t 

Preferably a high school problem, although eighth grade boys of unusual 
ability may work it out. If made of soft pine the corner posts may be cut 
from 2x4 in. stock and the center posts made from two 2x4 in. pieces with 
flat sides glued together. Soft pine with a good grain finished with a dark 
stain will make this a very appropriate hall piece. In gluing up, the diagonal 
cross pieces should be glued into the center post before the frame work is glued 
together; then as the last gluing on the framework is done, the center post 
with these projecting pieces, will be set inside and the ends slipped into the 
grooves (where the corners of posts have been sawed out to receive them) 
and bradded. 


24 













































17—Library Book Shelves 

An eighth grade or high school problem in gluing and pinning. In gluing 
pieces together for shelves and sides dowel pins should be used, especially for 
the sides. Care must be taken when binding pins are fitted to have the inside 
of hole for pin cut away enough to allow the inside edge of pin to draw 
against the upright piece. This will make the shelves firm and substantial. 
Finish by filling wood*—chestnut or oak—and rubbing down two coats of var¬ 
nish. Hard pine stained will also make an appropriate piece. 


18—Vestibule Umbrella Rack 

A high school problem. Make of oak and finish dark. As this is an 
outside piece it may well be finished by applying two or three coats of hot 
boiled linseed oil. The use of shellac or varnish will not be very practical. 
The corner boards are not necessary for strength. Inasmuch as they are 
decorative only, some other plan of space decoration may be used. A com¬ 
bination of horizontal and vertical strips is suggested, as in the hall umbrella 
rack. 



25 




































19—Cabinet Stool 

A high school problem which introduces simple cabinet construction, 
including the fitting and hanging of a single board door. Doors may be made 
for both sides, or one side may be made solid, in which case the board which 
forms the back should be grooved into the legs. This construction should 
also be used in fastening the end boards. This project serves to correlate 
metalwork with woodwork and offers an opportunity for the design and con¬ 
struction of copper, brass or iron hinges and pulls. Make of quartered oak 
and fume if either of the first two metals are used for fittings. In case iron 
is used for the metal parts, finish with the ‘‘Old Dutch Finish” or some dark 
stain. 


20—Umbrella Rack 

A high school problem introducing paneling. The panels may be omitted 
in which case the project should be possible in the eighth grade. The tenon- 
and-mortise joint is recommended although the ends of rails may be halved 
into the corner boards. Metal straps fitted around the corners in line with 
the rails will form an appropriate decoration and will serve, also, as con¬ 
structive elements. Make of chestnut or oak and fume, or finish with as- 
phaltum varnish. Avoid the use of a finish which is susceptible to moisture. 


?C 



























21—Magazine Holder 

An eighth grade or high school problem. Fair problems in gluing (for 
shelf width) screwing, tenon-and-mortise construction and modeling are pre¬ 
sented in this project. The open mortises at the top should be cut from both 
sides of the rail to insure a good joint. Some close-grained or hard wood 
should be used for this piece to make of it a strong piece of furniture. 


22—Magazine Holder 

An eighth grade or high school problem. Butternut finished with acetate 
of iron made by soaking iron filings in vinegar will make of this a pleasing 
piece of furniture. A variety of designs is possible in this project but the one 
given has proven a popular one in the author’s classes. If the corner boards 
are given a straight taper instead of a compound curve as shown, good results 
will be obtained. In this case the rails at the top and bottom may very ap¬ 
propriately be changed to straight-line modeling. 














































23—Wall Bxiok-Shelf and Magazine Rack 

A high school problem. The design may be modified and possibly im¬ 
proved by allowing the boards at the end of the back to taper toward the 
bottom on the outside, making the width about three and a half inches. The 
most difficult work comes in making the back which is an ordinary problem 
in panel framing. A dilute logwood stain on chestnut or oak will give a dark 
finish. 


24—Plate Rack 

An eighth grade or high school problem. This is a modification of the 
ordinary style of plate rack. It harmonizes in its design with the present- 
day severe style of dining room furniture. Make of oak or chestnut and 
finish with the bichromate of potash stain. 


25—Plate and Tumbler Rack 

An eighth grade or high school problem of severe design but appropriate 
in a dining room furnished with so-called “craft furniture.” A variation of 
the design may be made by paneling the lower opening. The piece should 
be finished dark to give the best general effect. If hard pine or oak is used 
some prepared dark stain will give a good finish. A very pleasing rich yel¬ 
low brown is obtained on oak by using the bichromate of potash stain. If a 
deeper brown is wanted, rub the bichromate stain with boiled oil and burnt 
umber; apply wax or a thin coat of shellac. 


28 

























26—Chafing-Dish or Tea Table 

A high school problem. Make of oak, preferably, and finish in brown. 
The doors may be made solid if well seasoned wood is used. The table will 
be quite as satisfactory in appearance if the shelf is omitted. The doors 
when let down into the horizontal position, serve as shelves for dishes. The 
ends of cross-bar supports for shelf are recessed into inside corner of legs and 
put into position as table is glued up. 


27—Three-Panel Screen 

Poplar or oak will be suitable for this piece. In the construction of this 
project different members of the same class may be put to work on the three 
different panels. If burlap or leather is used for the upper panels it may be 
fastened on a pine frame to set in flush with rails and stiles, or the material 
may be fastened on the outside with large-headed tacks. An opportunity is 
here given for some originality in design as these upper panels may be made 
of embossed or tooled leather, or stenciled burlap. If the wood is oak, some 
brown or dark green finish will be good. 


29 





















































28—Sewing Screen 

An eighth grade or high school problem. This simple two-fold screen 
permits of many modifications in general design. It is not a difficult problem 
in framing. Similar material tacked on to either or both sides of the frame 
may be substituted for the burlap panel. It may be made of almost any wood 
which should be stained, or stained and filled, and then covered with some 
preservative or waxed. 


29—Wall Cabinet 

A high school problem in simple cabinet construction. Great care should 
be taken to lay out and cut tenon-and-mortise joints to make them fit very 
tight—almost a driving fit. The cabinet offers a good problem in the design 
and construction of hardware. Chestnut or oak in the open-grained woods 
or poplar, birch or walnut in the close-grained woods is suggested as suit¬ 
able material. Any one of the latter named woods may be finished in the 
natural, or stained and then finished with a low-toned varnish. The first 
named woods should be stained, filled, and then varnished or fixed and waxed. 


30 








































30—Wall Cabinet 

An eighth grade or high school problem, and an attractive library, study 
or dining room hanging piece. The colored glass for doors is in one piece 
for each door with copper strips (preferably burnished) set in to form part 
of the decoration, rather than an essential feature in the construction. The 
project may be simplified by making the back solid, using narrow matched 
lumber, or by gluing pieces together instead of paneling as suggested in 
working drawing. Finish dark to contrast with color in glass and with the 
bright copper strips. 


31—Sewing Cabinet 

A high school problem in quartered oak. Plain oak or chestnut will be 
somewhat less attractive in appearance. The front and back panels are fas¬ 
tened in by first boring a five-eighths hole part way through from the inside 
(as shown by dotted circles in working drawing) and then driving one-inch 
screws from these holes into corner posts. This makes a very practical prob¬ 
lem in paneling and general cabinet-making. Finish by filling and varnish¬ 
ing if a strong grain is desired; otherwise stain, or stain and fill, and apply 
wax or varnish. 



31 



































/ 




32—Music Cabinet 

A high school problem in cabinet-making. Make this piece of butternut, 
black walnut, mahogany or maple. Finish with varnish and rub down three 
or four coats to give a dull or egg-shell finish. In putting cabinet together 
glue sides up first; lay one side on floor with inside of side up and set back 
panel and shelves in position. Now place second side in position and fasten 
with glue. 


33—Library Chair 

A high school problem. In design this is a novel modification of the Mor¬ 
ris Chair. The seat and back should be covered with natural leather and 
fastened with large iron, brass or bronzed tacks which are given the “dead” 
rather than the bright finish. The leather of the seat should not be stretched 
very tight at first. A finish similar to the one recommended in the rocking 
chair is advised here, except that filler and stain may be brown to harmonize 
in color with the leather. 


32 




































% 


34— Hall Seat 

An eighth grade or high school problem. Make of hard pine, poplar or 
chestnut unless oak is desired. If poplar or pine is used some good stain 
that does not need a fixative preparation over it will answer all requirements. 
The design may be varied by using slats on ends and back instead of the two 
back boards as shown. If the seat is upholstered with leather or its imitation, 
pantasote, allowing a border of the wooden seat about two inches wide to 
show all around the upholstery, the piece will be somewhat improved in 
appearance. 



35—Hall Seat 

A high school problem offering an opportunity for some wood turning. 
The chest portion of the seat might be made by using solid rather than paneled 
sides and ends. In any case these should be grooved into the legs. The seat 
will look best perhaps when made of some hard wood and finished by the 
process of staining, filling and varnishing. The turned parts should be finished 
while in the lathe if varnish is used, in order that it may be properly rubbed 
down. 



33 












































36— Desk Chair 

A high school problem. This makes a simple chair and one that brings 
in good framing problems. Hard pine or oak will be most serviceable. If a 
softer wood than either of these is desired, poplar may be used. In case an 
open-grained wood is used it should be filled. If the entire wood is to be 
colored, stain first and fill afterward. The natural wear on a desk chair calls 
for a finish which will preserve the stain; varnish or shellac should be the 
covering material. 

37— Hall Chair 

A high school problem. This is a suitable project for a boy who will 
take pride in matching the grain of lumber in gluing two pieces together for 
seat and back. Have the joint come in the center of each of these parts. A 
very satisfactory way of producing a striking effect is to resaw a piece and 
double the two parts back as one turns the leaves of a book, and then glue 
the edges together. Cypress, sycamore or hedge will be suitable wood. Finish 
in natural color with dull varnish or shellac. 


38—Rocking Chair 

A high school problem. It is advised that this problem be undertaken 
only by high school pupils of considerable ability. The variety of angles in¬ 
troduced makes the cutting of joints difficult, although not too hard for some 
pupils of high school grade. The back cushion is left off in the sketch to 
show the slatted back. The cushions may be made by pupils. Pantasote may 
be the outside covering. Make a canvas case first and fill with “Kapok,” a 
material shipped from India and not as expensive as curled hair. It is sug¬ 
gested that the bottom of corner posts need not be set into rockers, as shown 
in working drawing, as one will not rock back of the back posts. Stain dark 
and give the “Stain, Filler and Varnish Finish.” 


34 











































39—Library Table with Shelves 

A high school problem. Make of chestnut or oak. Glue up the four sets 
of corner posts first. Second, glue in shelves and panels which form the backs 
for shelves, and, last, fit on top and foot board, being careful to have legs 
plumb and ends of table parallel in order that drawer may slide both ways. 
Finish in the “Old Dutch” style. 


40—Library Table 

A high school problem. This is a very simple table but a very good one. 
Oak should be used although chestnut will give a good finish if a soft wood 
is desired. In either case, unless one has the facilities for fuming large 
pieces of work, the wood should be wet after all parts are glued, sandpapered 
and scraped. When dry, sandpaper again; then stain and fill before the wax, 
shellac or varnish is used. The bichromate of potash finish will be very at¬ 
tractive on this piece. The drawer pull is made out of one-eighth inch sheet 
brass or copper. 




35 












































41—Writing Desk 

This is probably the most difficult problem in cabinet-making in this book 
but the desk may be satisfactorily constructed by high school pupils of un¬ 
usual ability. The problem of paneling in front and back (the same in each) 
is a good test of technical skill. The lower part of the front when lowered 
to a horizontal position, catches under the middle shelf and forms the writing 
table. The back and top are fastened in position by method described in 
the notes on the sewing cabinet. The bichromate of potash finish or some 
dark stain will be suitable. If the stain is one that is on the wood instead 
of in it a covering of shellac or varnish should be used. . 


42 —Bookcase 

A high school problem. There is introduced in this project the problem 
of glass paneling and leaded glass work. The back is made in two panels 
similar to the doors without the middle one-inch stiles. The ends should be 
glued up first and the case set up as described in notes on music cabinets. 

















































Problems in Furniture making 




K 



i 


a 




W.T. Ba i voeni, Normal,III . 






































Phoblem s 


HI 

? *• 


hi 

* 2 2 
*ou 

i * 


I 

<0 

k] <o 

0; < 

c\ Q> 

2 ^ 
OQ y 


Pi 


? 


1 

£ 


-fi'/- 




y 

cj 


Plate 














































THE MANUAL 



o 


03 


£ 

$ 


<o 

^3 


£ 


§ 


<: 

o 

£ 

•t 

K 

*0 

* 

O 

<0 

lu 

VD 

£ 


* S 


?Si 

is: 

*»u 
u. •« • 




o 

O' 

k 


Plate 











































* ^ ' 
\u 
s l8 


1 I 

hi 


5 !“ 

“•Sq 


k 

kj 

Q; 

o 

QCl 

£ 


£ 

o 

§ 

K 

<o 

o 


1 

£ 

k 

CL 

$ 

§ 


5 >/ 


r-.-“3- 

- c ...--3 

-r=-i l --—i 

_2>_*f f; 

ir~u&:::: 

i-te 

R-i 

"".'c'P 
_ ?>. 

rS»!« •• 
i r 1 * 
i i 1 
i 1 1 

» ! ' 

1 ' 

. 1 1 

::: 

1 1 1 

r.M 

i w ' J 

' ! ! 

1 » 

1 * ! 

1 k r~ 

iiu i 
* 

L_J 1 

__ 1 1 

;|3 

lj „js:so:::: 

_‘P.SG.-L.j 


_ 3=V _ 2 

• 


CD 


_ 1 _ 



Plate 4. 





















































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

FRED D. CRAWSHA'*' 


PUBLISHED BY 

THC MANUAL ARTS PRESS 
PEORIA. ILLINOIS 


Bench Stool 


TanoMPIN construction 



ro.c. 


Plate 5. 












































a * 

*. ■* t 

* ’ 


* i 


2 Si 
§22 
«L * ■ 

M UJ 


f [— 


Uj 

£ 

10 

5 


a 

S 

tt 

5 


(O} 


tfi 

■ys- 




5 

<0 

Uj 

C 3 

4: 



Plate 






























































2 o 

S 8 * 


2 

K 


I 



k 


£ 

X 



'NQO'Sr^ 

(O' <0 
^1 k 




Q 

<t 

3 

CQ 


O 

k 

k 

O 

oa 




Q‘ 

k 


Plate 

































































































problems in furniture making 



„1 


- 9 / 


+ 


-R- 


3=3] 7 

I "ICS 


T 

NC\j 

X 


•« 
• 1 
1 
1 


J<? —*4-*— ft ? » - k 




nr 


>•0 (p 


~ftr-A 


-S=J- 


1 

D 


j9 —*4fW-r£H 


o 

Q 

U. 


Plate 



























































o' 


5: 


Plate 9, 





































































Plate 10 































































































































































































Problems in furniture making 

ARRANGED BY 

Fred D. Crawshaw 


published by 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 


Woven Top Stool 



roc. 


Plate 11 





















































































































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

Fred d. Crawshav/ 

Leather Top Stool 



roc. 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 


Plate 12. 























































Problems in furniture making 

ARRANGED BY 

Fred d. Crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 





K 


/4 


Leather or Cloth Top 
Foot Stool 

TA CKO 0 0 l/ERED IN TOP MATERIAL 


// 

70- 



Plate 13 



































































Problems in furniture making 

ARRANGED BY 

Fred d. Crawsha w 



FO.C. 


Plate 14. 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 


Leather Top Stool 

COVERING OF CURLED HAIR 
AND LEATHER FASTENED ON 
EDGES WITH GIMP AND LARGE 
HEADED TACKS 
* - /5i- - m 

































































fc 

Jr vi o 

3 ^ 2 

-5 ? at 

a. , w 

<*i 



Plate 15. 




















































Ha t and Umbrella Rack 



,i 


Plate 16. 





















































































































PROBLEMS IN FURNITURE. MAKING 
ARRANGED BY 

Fred d. Crawshaw 


Library 



roc. 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PECR1A, ILUNQ1S 



END or MIDDLE SHELVES 


h-/O'-H 



Plate 17 






































































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

Fred d. crawshaw 



FDC. 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 


Vestibule Umbrella 
Ra cat 

PAN FITS ON BOTTOM CLEATS 


T 


N| ^ 

<o 

<\* 



Plate 18 









































































/ l 



PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

Fred D. Crawshaw 


Cabinet Stool 


PUBLISHtD BY 

The manual arts press 

PBQRtA. ILLINOIS 


LEATHER COVERED 



F.O.G. 


Plate 19 















































a: 

ft. 



<41 

t 


5 




Uj 



5 

o 

k 

o 

tt 

k 

to 

O 

o 


-J 


lo 

£ 


i i 


* >. tfl 

2 i* 

2 2 2 
*30 
u. ^ • 

, so 



o 

0 

k 


Plate 20. 






































































problems in furniture making 


3 i 5 


<a 3 5 
3 2 O 
a. w 


> #> 

S s 
So 


£ 



Plate 21. 
























































































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

FRED D. CRAWSHAW 



rac. 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA, ILLINOIS 


Plate 22. 






































































Problems in furniture making 

ARRANGED BY 

Fred d. Crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 



FO.C. 


Plate 23. 



















































































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

Fred d. Crawshaw 


Plate. Rack 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 



C.A.Btrr/rYeTT, Pco/wk. III. 


Plate 24. 















































































Plate 25. 


































































/ 




- 







1*1 

i 2 1 
s 2 - 

3 ? I 
5 5 * 

3 < O 
«- •< » 
S “• 


w 

a 

=> £ 


r-- 


* 
* 
* 
- 5 

o 5 

*2 2 

‘‘■Jo 

5*S 

V) til 

5 a 

ui U, 


I 

u. 



Plate 26. 






































































































PROBLEMS IN FURNITURE MAKING PUBLISHED BY 

ARRANGED BY THE MANUAL ARTS PRESS 

FRED D. CRAWSHAW Peoria^ Illinois 



SECTION A.B . o 

o 


Plate 27. 




















































































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

FRED D. CRAWSHAW 


Selw/ng Screen 



T" 

? 




IS 

T 


- u\i 


to 


<o\l 

(\J 


i 

T 


^4 


FOC 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA, ILLINOIS 


Plate 28. 




























































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

Fred d. Crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
• PEORIA. ILLINOIS 


Wall Cabinet 



r.o.c 


Plate 29. 






































































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

Fred D. crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA , ILLINOIS 


roc. 



Wall Cabinet 

A, COLORED CLASS 

B, COPPER STRIPS 
BACK MAY BE SOLID , NOT 

PANELED 



Plate 30 












































































































ti 

* 

£ w o 

Sfes 

3 2 ; 

; 3 * 

3 < O 

0 . * •■ 

s l 

hi 



-4 



t 

O 

CL 


K" 

k 

<4 

i 

ID 


X 

« 


Plate 31. 







































































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

Fred d. Crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA . ILLINOIS 


Music Cabinet 



roc. 


Plate 32 . 



























































































I 














N 








. 

: \ • 



































I 























■ 








A 








Problems (n furniture makino 

ARRANGED BY 

FRED D. CRAWSHAW 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 



roc. 


Plate 33 . 



















































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

Fred d. Crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA, ILLINOIS 



Hall Seat 


K 

v lcy 



TTt 


'c\i 




/v' 


I I 
I I 

I I 

I I 
I 

I 

11 
I L. 
u 


'y-? 




X 

s > 


TT 


—i/jh 




r.o.c. 


Plate 34. 




























































PROBLEMS IN FURNITURE MAKING 
ARRANGED BY 

FRED D. CRAWSHAW 


Hall Seat 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA, ILLINOIS 



F.O.C. 


Plate 35 


























































































PROBLEMS IN FURNITURE MAKING 

ARRANGED BY 

Fred d. Crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 


Desk Chair 



roc. 


Plate 36 . 





































































V 


Problems in furniture Makinq 

ARRANGED BY 


Fred d. crawshaw 



R.C.CRA!G ) PEORIA } ILL. 


Hall Chair 


PUBLISHED BY 

The manual arts Press 

PEORIA, ILLINOIS 



Plate 37 

























































































Problems in furniture making 

ARRANGED BY 

Fred d. crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
Peoria. Illinois 



Plate 38 

































































































Problems in Furniture making 

ARRANGED BY 

Fred d. Crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS 
PEORIA. ILLINOIS 



FiO.C. 


Plate 39. 








































































































Problems in furniture making 

ARRANGEn BY 


PUBLISHED BY 

THE MANUAL ARTS PRESS 



ro.c. 


Plate 40. 















































































































vi 

m 

ft: 

Q. 


o * 

to 


O 

2 


£ 


« &> 
3 2 o 

« 

5 «■ 


Ul 

K 




I 

fci 

k 

* 

* 

I 

£ 

-. 

5 


Plate 41. 































































































PROBLEMS IH FURNITURE MAKING 
ARRANGED BY 


Fred d. crawshaw 


PUBLISHED BY 

THE MANUAL ARTS PRESS ; 
PEORIA. ILLINOIS 


Writing Desk Interior 



Plate 41A 
















































































* * 

\ X 

\ e * 
: q 

• UJ (V 

: o r: 
> 2 u 


2 

£ 


o 

<fc 

0 . 



a! 


I 

K 

fcj 

§ 

3 


Plate 42. 

















































































































THE “PROBLEMS” SERIES 

OF BOOKS ON 

MANUAL TRAINING 

WORKING DRAWINGS READY FOR USE 
THOROLY GOOD PROBLEMS IN CONVENIENT FORM 


PROBLEMS IN WOODWORKING by M.W. Murray. 
A collection of 40 full-page plates of working drawings 
of projects that have proven successful in the grades. 
Price - - -- -- -75 cents 

PROBLEMS IN MECHANICAL DRAWING by Chas. 
A. Bennett. Consists of 80 plates and a few explana¬ 
tory notes. Covers simple projection—straight lines and 
circles, problems involving tangents, planes of projec¬ 
tion, revolution of solids, developments, intersect! ns, 
isometric projection, lettering, and working drawings. 
Price -------- - $1.00 

ADVANCED PROJECTS IN WOODWORK by Ira 

S. Griffith. Contains fifty plates of problems in furni¬ 
ture making, suited to high school needs. With each 
working drawing is a perspective sketch of the com¬ 
pleted article. Price ----- $1.00 


PROJECTS FOR BEGINNING WOODWORK AND 
MECHANICAL DRAWING by Ira S. Griffith. A 
book of problems for the use of pupils in grades VII 
and VIII, It contains 50 plates of working drawings 
and 30 pages of notes and working directions. 

Price - ------ 75 cents 

PROBLEMS IN FURNITURE MAKING by Fred D. 
Crawshaw. The revised edition of this book contains 
43 plates of working drawings and 34 pages of text in¬ 
cluding notes on the problems and chapters on design, 
construction and finishes, Price - $1.C0 

PROBLEMS IN WOOD-TURNING by Fred D. Craw¬ 
shaw. An illustrated textbook on the science and art 
of wood-turning. It contains 25 plates of working draw¬ 
ings covering spindle, face-plate and chuck turning. 
Price -.80 cents 


PUBLISHED BY 

THE MANUAL ARTS PRESS, PEORIA, ILLINOIS 








y, 

% 


BD-l81 




















































